Artist: Kraftwerk
Genre(s):
Electronic
Dance
Industrial
Rock
Discography:
Minimum-Maximum (CD2)
Year: 2005
Tracks: 12
Minimum-Maximum (CD1)
Year: 2005
Tracks: 10
Minimum Maximum
Year: 2005
Tracks: 9
Minimum
Year: 2005
Tracks: 22
At the Cirkus
Year: 2004
Tracks: 18
Aerodynamik
Year: 2004
Tracks: 4
1974-2004
Year: 2004
Tracks: 20
Tour De France Soundtracks
Year: 2003
Tracks: 13
Tour De France
Year: 2003
Tracks: 12
Expo Remix
Year: 2001
Tracks: 6
Expo Remixes
Year: 2000
Tracks: 6
Expo 2000 (Remix)
Year: 2000
Tracks: 4
Expo 2000
Year: 2000
Tracks: 4
Remix Bootleg Limited Edition
Year: 1999
Tracks: 7
Re-Werked Remix
Year: 1999
Tracks: 25
Expo2000
Year: 1999
Tracks: 4
boing boom tschak ... A tribute to Kraftwerk
Year: 1998
Tracks: 14
The Model
Year: 1994
Tracks: 8
The Robots
Year: 1991
Tracks: 3
The Mix
Year: 1991
Tracks: 11
Radioactivity
Year: 1991
Tracks: 3
The Telephone Call
Year: 1986
Tracks: 3
Electric Cafe
Year: 1986
Tracks: 6
The Model (English)
Year: 1981
Tracks: 8
Mini Calculateur
Year: 1981
Tracks: 2
Computerwelt
Year: 1981
Tracks: 7
Computer World
Year: 1981
Tracks: 7
The Man Machine
Year: 1978
Tracks: 6
Die Mensch-Maschine
Year: 1978
Tracks: 6
Trans-Europe Express (Single)
Year: 1977
Tracks: 4
Trans-Europe Express (2)
Year: 1977
Tracks: 7
Trans Europa Express
Year: 1977
Tracks: 8
Showroom Dummies
Year: 1977
Tracks: 5
Radio Activity
Year: 1975
Tracks: 12
Autobahn
Year: 1974
Tracks: 5
Ralf and Florian
Year: 1973
Tracks: 6
Kohoutek Melodie 1
Year: 1973
Tracks: 2
Kraftwerk 2
Year: 1972
Tracks: 6
Tone Float (As Organisation)
Year: 1970
Tracks: 6
Kraftwerk I
Year: 1970
Tracks: 4
Kraftwerk
Year: 1970
Tracks: 4
Virtual Technopop Cdep
Year:
Tracks: 4
Radio-Aktivitat
Year:
Tracks: 7
Collection
Year:
Tracks: 12
During the mid-'70s, Germany's Kraftwerk established the transonic design followed by an extraordinary telephone set number of artists in the decades to come. From the British unexampled romanticistic move to rap to techno, the group's self-described "robot pop" -- hypnotically minimum, sideways rhythmical medicine performed solely via electronic agency -- resonates in near every new ontogenesis to wallop the present-day harvest up setting of the belated twentieth 100, and as pioneers of the electronic euphony form, their enduring influence cannot be overdone. Kraftwerk emerged from the same German observational euphony community of interests of the belated '60s which to a fault spawned Can and Tangerine Dream; basal members Florian Schneider and Ralf Hütter first met as definitive music students at the Dusseldorf Conservatory, in the beginning teaming in the grouping Organisation and issuing a 1970 record record album, Tone Float. Schneider and Hütter shortly disbanded Organisation, re-christening themselves Kraftwerk (German for "powerfulness station"), beginning work on their have studio apartment (after dubbed Kling Klang), and immersing their music in the entrant public of minimalist electronics; their 1971 debut, titled just Kraftwerk 1, offered a point of their singular artistic in its earliest mannikin, already implementing innovations including Schneider's attempts at design homemade cycle machines.
A series of lineup shifts followed, and at unrivalled point Hütter even left the mathematical group; however, by the release of 1972's Kraftwerk 2, he and Schneider were once again running in bicycle-built-for-two. Recorded without a lively drummer, the album's rhythms relied only on a drum automobile, creating a distinctly robotic feel without precedent -- the conception of strictly technological music was, at the time, absolutely foreigner to about musicians, as well as listeners. A series of well-received live performances followed before Kraftwerk began function on their breakthrough tierce LP, 1973's Ralf and Florian; honing their many ambitions down to a few unsubdivided nevertheless inordinately innovative concepts, their music began growing more and more suggestive -- regular their trim, scientific mental image was in take aim opponent to the dominant pop fashions of the meter. Kraftwerk's number one album to be issued in the U.S., 1974's Autobahn was an international smash; an emended individual rendering of the epic statute title raceway was a major make at household and abroad, and in America the antecedently obscure mathematical radical reached the upper rungs of the pop albums chart. Performed in big division on a Moog synthesist, Autobahn crystallised the distinctive Kraftwerk sound spell making the group's first base clear overtures towards conventional bolt low construction and melody, establishing a permanent foothold for electronic music within the mainstream.
Kraftwerk resurfaced in 1975 with Radioactivity, a conception record album exploring the motif of tuner communication; significative of the group's new planetary popularity, it was released in both German and English-language editions, the latter appearance early the following year. Train travel emerged as the bailiwick of 1977's Trans-Europe Express, which marked an increased drive towards ostensible musical mechanization; the melodic phrase became regular farther hazy with the reexamination, 1978's capably highborn The Man Machine, a work well-nigh entirely mourning of human touches. By this time, the members of Kraftwerk even publicly depicted themselves as automatons, an trope coagulated by tracks like "We Are the Robots." Having reached the tip of their influence, even so, the radical disappeared from view, the showtime of many extended absences to follow; they did not return to action prior to 1981's Calculator World, a meditation on the new world-wide dominance of technology -- a fellowship their music recollective agone predicted and pre-dated. After topping the British charts with the individual "Data processor Love," Kraftwerk once more vanished, enjoying a five-year layoff culminating in the release of 1986's Electric Cafe. By directly, however, pop music was dominated by synthesizers and barrel machines, and the group's stature flagged; but for a 1991 best-of appeal highborn The Mix, they remained mum during to the highest degree of the decade. They at long last released a new single, "Exposition 2000," in late 1999, and surprised fans by announcing go dates. On the recording nominal head, Kraftwerk historied the centenary day of remembrance of the Tour de France with a new version of their 1983 single "Go de France," and followed with a full record album (Circuit de France Soundtracks) in August 2003. The live record Minimum-Maximum followed in 2005.
